“Fundamentally Silly” Story, Not As Good As Guardians, But Amusing, “Reasonably Disarming”

“If you don’t have Thor’s hammer, Hulk’s bulk, Captain America’s resolve or Iron Man’s know-how, what’s an Avenger to do? The answer provided by Ant-Man is to go small, smaller than Black Widow’s fingernail, and exude a good sense of humor, which is precisely what floats this latest addition to the Marvel firmament,” writes Hollywood Reporter critic Todd McCarthy. “The timing might even be fortuitous as far as the fan base is concerned, what with the sense of overkill emanating from the most recent Avengers installment and a mirth quotient in the new outing that, by Marvel standards, ranks behind only that of the disarming Guardians of the Galaxy last summer.

“Although the story dynamics are fundamentally silly and the family stuff, with its parallel father-daughter melodrama, is elemental button-pushing, a good cast led by a winning Paul Rudd puts the nonsense over in reasonably disarming fashion.

“The geek world, even if it approves what has finally emerged onscreen, will still always wonder what Ant-Man would have been like if, as originally intended, Edgar Wright, he of Shaun of the Dead and Scott Pilgrim vs. the World cultish veneration, had directed the screenplay he wrote with Joe Cornish. Would it have been more extreme, irreverent, idiosyncratic and, in the end, less Marvel-like?

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Perfect Storm in Winter, Same New England Accents, Happier Ending

True-life tale of a 1952 rescue mission off the Cape Cod coast after two oil tankers, SS Fort Mercer and SS Pendleton, were destroyed by a collision in the midst of heavy waves. Have heaving CG seas improved since the days of The Puhrfict Stauhm? You tell me. Directed by Craig Gillespie (Lars and the Real Girl). Clearly all the actors — Chris Pine, Casey Affleck, Ben Foster, Holliday Grainger, John Ortiz, Eric Bana — attended the same New England accent school.

They Died With Their Climbing Boots On

I was a bit surprised to read that Baltasar Kormakur‘s Everest (Universal, 9.18) will open the 72nd Venice Film Festival on Wednesday, 9.2. Out of competition, of course. I’m sure it’ll be pretty good for what it is (a tragic, fact-based disaster film), but Kormakur’s Contraband and 2 Guns made it clear that he’s more or less Renny Harlin of the early ’90s. Pretty much all the male leads die in this, right? Jake Gyllenhaal, Jason Clarke, Josh Brolin, Sam Worthington, John Hawkes and Michael Kelly. With Keira Knightley, Emily Watson and Robin Wright fretting as sketchy reports come in. Everest will almost certainly not be a Telluride film…right?

Half Typical Spielberg, Half Possibly Not Too Bad

The new British-made trailer for Steven Spielberg‘s Bridge of Spies (Disney, 10.16) is a significant improvement over last month’s teaser. It still has that trademark bluish-white Janusz Kamsinski cinematography, which I loathe with a passion, but it lays out the social and political context of the late Eisenhower era and delivers a more precise portrait of U.S. vs. Soviet tensions when the Francis Gary Powers U2 incident happened in May 1960. Spielberg and Hanks were kids when this shitstorm happened, and so there’s likely to be an extra measure of authority in the depictions of those times. Hanks’ 17th version of his man-of-character-and-infinite-patience thing, etc.

Kael Doc Still In The Pit

Rob Garver, director of the forever-gestating What She Said: The Art of Pauline Kael, needs $75K to finish the film, which I had expected (emphasis on the “had”) would be hitting the fall festivals. I guess not. Okay, I’ll contribute $100 but it profoundly bothers me when a trailer has a slightly wider than correct aspect ratio. I’m not talking about the Kickstarter pitch as much as the Vimeo trailer posted after the jump. I hate the horizontal taffy-pull look. Fix it, please.

“If we go back and think over the movies we’ve enjoyed—even the ones we knew were terrible movies while we enjoyed them—what we enjoyed in them, the little part that was good, had, in some rudimentary way, some freshness, some hint of style, some trace of beauty, some audacity, some craziness….They have the joy of playfulness. In a mediocre or rotten movie, the good things may give the impression that they come out of nowhere; the better the movie, the more they seem to belong to the world of the movie. Without this kind of playfulness and the pleasure we take from it, art isn’t art at all, it’s something punishing, as it so often is in school where even artists’ little jokes become leaden from explanation.” — from a Pauline Kael piece called “Trash, Art and the Movies,” from “Going Steady.”

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Sometimes It All Just Works

I’m off to see Trainwreck again tomorrow night, and I can’t wait. I know when a movie has its shit together and when it doesn’t, and apart from third-act disputes and discussions (which are fair to kick around) Trainwreck is two or three cuts above. It does the conventional relationship thing in a dryer, sharper, deep-down way. For the deadpan hilarity alone you can’t not see it. Smarts, depth, poignant perceptions, gut-level honesty — qualities obviously owned by Amy Schumer but not, I regret to observe, abundant among Kate Upton types. Prevalent now and then but not abundant. I wish it were otherwise.

“Perhaps most surprising, though, is what a strong performer Schumer proves to be,” says Screen Daily‘s Tim Grierson. “On her Comedy Central show, she’s quite funny in short sketches, but here she gets the chance to play a multi-dimensional character. The actress-comedian makes Amy’s childishness endearing while also recognising its shortcomings.

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Casting Suggestions?

Variety and the N.Y. Times reported this afternoon that Twentieth Century Fox is developing a film about the Supreme Court’s recent marriage-equality ruling. Fox has acquired the life rights of Jim Obergefell, the lead plaintiff in the lawsuit that went to the court. To cover their bases the studio has also bought life rights to Obergefell’s attorney Al Gerhardstein.

On 6.26 The Onion ran a piece about such a project, beginning with the following:

“WASHINGTON — Shortly after turning in dissenting opinions in landmark federal rulings today that struck down the Defense of Marriage Act and conferred full federal benefits to married same-sex couples, Supreme Court justices Antonin Scalia, Clarence Thomas, John G. Roberts and Samuel Alito reportedly realized today that they would someday be portrayed as villains in an Oscar-winning film about the fight for marriage equality.

“’Oh, God, the major social ramifications, the political intrigue, all the important people involved in the case — I’m going to be played by some sinister character actor in a drama with tons of award buzz, aren’t I?” said Scalia, joining his fellow dissenting justices in realizing they would be antagonists in a film potentially titled Defense Of Marriage and probably written by Tony Kushner.

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Give Us Old Han, Old Chewie, Old Bucket of Bolts — Screw Prequel Idea

A new Star Wars prequel about a young Han Solo is being worked on by LEGO Movie directors Christopher Miller and Phil Lord. A screenplay has reportedly been co-written by Lawrence Kasdan and his son Jon and…what, Miller and Lord are re-writing?. And Solo will be played by whom? Chris Pratt or some young buck trying to be the next Pratt? Flick will allegedly tell “the story of how the young Han Solo became the smuggler and thief who Luke Skywalker and Obi-Wan Kenobi first encountered in the cantina at Mos Eisley and shot Greedo,” blah blah. That obviously removes any chance of Harrison Ford filling the role, which is what everyone would rather see happen…right? Screw all prequels. Pic will open on 5.25.18.

Not Inspirational

I felt mostly sympathy and compassion for Hillary Clinton during this afternoon’s 18 and 1/2 minute interview, which was conducted by CNN’s Brianna Keilar. Clinton will never knock anyone out in a one-on-one, but she’s okay. She’s trying to say the right things, strike the right balance…and I suppose she’s doing a reasonably good job of that. As far as she’s able, I mean. It’s just not in her to charm or inspire. She doesn’t come off as brittle or peevish here, but as someone who could go there at the drop of a hat. She blew off any suggestions that her trust numbers are to some extent her fault, and she dodged Keilar’s question about shutting down the Clinton Foundation if she’s elected. I believe she’ll be a good, tough, capable president — a slightly flintier Obama with the same right-center philosophy. I don’t believe for a second that she’ll do much to try and reverse the pattern of income inequality, certainly not in the populist way that Bernie Sanders has pledged to do. I believe that Hillary’s warmer and more personable up close than she seems in these interviews, but she’ll never be a great campaigner. She just doesn’t have it.

Instant Issues

I’m, like, not the target demo for movies like Paper Towns, which is an adaptation of a YA book by John Green, author of “The Fault In Our Stars.” (I didn’t “like” the 2014 film version that much, but I didn’t obsessively hate it either — it drained me.) To go by reviews, Towns is a teen-angled dramedy about love and obsession with a kind of mystery element (i.e., where’d she go?). I’m 85% certain I’ll hate it, but you have to focus on that 15% potential. You have to take things as they come.

But I also have to be clear and say that my primary animus is, in this instance, not adaptations of YA novels as much as Nat Wolff, an obviously live-wired and nimble-witted actor (as well the 20 year-old son of thirtysomething costar Polly Draper) who plays the male lead.

Over the last four or five years, Wolff has costarred in a series of passable, tolerable, mildly acceptable and in some cases achingly sincere relationship films — New Year’s Eve, Peace, Love, & Misunderstanding, Stuck in Love, Admission, Palo Alto, Behaving Badly, Grandma — about people who are hurting or insufficiently loved or turned around in some way. Most of these films have made me feel irked or unhappy or otherwise unsatisfied, and so I’ve passed them on to Wolff. The dissatisfaction is his fault, his doing. Kidding but on a certain level not. I saw his face on the poster and went “oh, Christ.”

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Briefly Boxy Assassin

The aspect ratio of Hou Hsiao-hsien‘s The Assassin is, to judge by the trailer, something close to 1.37:1. And yet the credit block in Justin Chang‘s review describes it as “partial Academy ratio.” I’m informed that the film is mostly in 1.85 and that only the first five minutes uses a somewhat boxier (1.37 or thereabouts) aspect ratio.